R e v i e w s
Cendrillon/La Fee/Glyndebourne on Tour:
"Needless to say, the essence of Cendrillon’s late mother is subsumed in The Fairy. A tall sophisticated, elegant figure, clad in pale she-mink, cool as a catwalk model, yet full of maternal warmth for her protégée, Caroline Wettergreen excels as The Fairy in her balanced acting, whereas the clear purity of her coloratura soprano voice is more then up to the demands of Massenet’s score in its acrobatic runs and trills, which seem almost effortless."
- Mark Aspen Review
"The real star of the show is soprano Caroline Wettergreen as the Fairy Godmother. Dressed in an Elsa-esque coat, with braided hair and sparkles adorning her face; Wettergreen casts spells before reclining in her chair with a cigarette and is perfectly nonchalant but magical. Her coloratura is outstanding and the oak tree dance in act three really shows off her voice, as well as Sarah Fahie's choreography which is perfectly timed with every trill and ornament."
- ReWrite This Story
"The Fairy is brilliantly sung by Caroline Wettergreen, an excellent coloratura soprano of whom much more will be heard."
- Daily Mail
"Caroline Wettergreen’s vocally sparkling Fairy, nonchalantly drawing on a cigarette as she expounded the terms of the spell to Lucette, provided an elegant antidote."
"Caroline Wettergreen fearlessly flying her coloratura hurdles as the Fairy Godmother"
- Daily Mail Online
"Only in scenes featuring the Fairy Godmother – sung with effortless purity by soprano Caroline Wettergreen, and the ecstatic love duets between the neglected Cendrillon (Alix le Saux) and her depressed Prince, the ardent mezzo-soprano Eleonore Pancrazi, does magic emerge from the muddle."
- The Stage
"Caroline Wettergreen is the Fairy Godmother and brings authority and kindness to her role with a voice that never ceases to enchant."
- Brighton & Hove Independent
"Outshining both of them, and the rest of the cast is Soprano Caroline Wettergreen as the Fairy, who dominates the stage whenever she appears."
- The Reviews Hub
"Coloratura soprano Caroline Wettergren as a suitably strange, coolly smoking Fairy Godmother (pictured above) strings together pearls on a line of absolute perfection."
"As the Fairy – that is, Cendrillon’s Fairy Godmother – Caroline Wettergreen delivers the show-off coloratura with pinpoint panache, and I very much take to her mix of exasperation with and love for Cendrillon."
- Classical Source
"Caroline Wettergreen is spot on as the sparkling Fairy Godmother"
- The Telegraph
"Caroline Wettergreen’s Fairy is mostly undaunted by the coloratura demands of her role; this young Norwegian soprano is another welcome first timer in this house."
- Music OMH
"Caroline Wettergreen’s stupendous (good) Fairy is tender, wise, supportive and loving. With the Norwegian and Danish-trained Wettergreen (who again took the same role for the Komische) rooting for her (Cincerella) – and if Massenet uses coloratura sparingly, it was simply stunning when she embarked on it, rather stylish and not overbearing – Cinders was always going to win."
- Seen and heard international
"Enlightenment took spectral form as Caroline Wettergreen illuminated the stage with a dazzling display of singing. In Massenet’s stratospheric notation her Fairy character is less a Godmother than a Queen of the Night, and the young Norwegian pinged a magical coloratura with preternatural accuracy. Indeed, the fast-rising (in every sense of the term) soprano outshone all her colleagues on opening night"
"Though the best performances come from Zwierko and Wettergreen. Wettergreen floats the Fairy’s coloratura with exquisite ease."
- The Guardian
"Caroline Wettergreen is near perfection as the Fairy, casting a spell over the audience with her top notes light as thistledown."
- Financial Times
"Both are outsung by the glittering Norwegian soprano Caroline Wettergreen as the fairy, oddly portrayed as a louche chain-smoker."
- Sunday Times
Cendrillon/La Fee/Komische Oper:
"Caroline Wettergreen was a fabulous presence as la Fée. She was absolutely effortless right at the top of the voice and never compromised the diction to compensate for production. Her acuti were always spot on and every single staccato was immaculate. She also has a genuine trill. "
"Caroline Wettergreen’s precise and effortless coloraturas of captivating beauty are a discovery in the role of La Fée."
- GB Opera Magazine
Premiere of Hans Abrahamsen's "Two Inger Christensen Songs" - Münchner Festspiele:
"Caroline Wettergreen sang mit großer Stimmkraft, sie meisterte größte Intervallsprünge, die weit über eine Oktave hinausgehen, in höchster Brillanz."
- Klassik Begeistert
"Zerlina might have distinctly less overtly showy music than the others, but Caroline Wettergreen made up for it with a genial stage presence and a beautifully edgy tone."
"Caroline Wettergreen (Zerlina), Birgitte Christensen (Donna Anna) og Marita Sølberg (Donna Elvira) dannet heldigvis sin egen elitedivisjon (..)"
- scenekunst.no, Hilde Halvorsrød
"Den kjente duetten «La ci darem la mano» er vakkert fremført av Weisser og Wettergreen, det er også Zerlinas lokkende trøstearie."
Queen of the Night/ Glyndebourne Opera Festival:
“Best are the top and bottom of the cast, Caroline Wettergreen as a Queen of the Night who dazzles with her top notes, one of the best I have seen in 40 years!”
- The Financial Times
“Caroline Wettergreen’s elegant Queen, with even more stratospheric high notes than normal, is ambiguous, even sympathetic.”
- The Guardian
“The iron-strong cast makes for agreeable company, and it’s graced by another stratospheric outing for Caroline Wettergreen’s helium-fuelled Queen of the Night. As at the Royal Opera House, the Norwegian soprano delivers her moments with oompf, wow and pinpoint accuracy, and at the opening performance she even leapt up a cheeky octave at the end of “Zum Leiden bin ich auserkoren”.”
“Caroline Wettergreen had a plangent tenderness to match her spells of imperious fury. Her blistering "Der Hölle Rache" after the interval immaculately struck one bull’s-eye after another.”
- The Arts Desk
«..a Queen of the Night who combined needlepoint vocal daring with a surprising vulnerability.»
- The Spectator
«..the real star of the production is Norwegian soprano Caroline Wettergreen as the Queen of the Night. This role has some gloriously high notes, but Wettergreen astonishingly replaced them with some even higher ones.»
- The Express
«The two standout performances were Caroline Wettergreen as the Queen of the Night and Brindley Sherratt as Sarastro. Wettergreen made the Queen of the Night more sympathetic than the imperious figure we see in many productions, particularly during her first aria. The coloratura zipped along in ‘O zittre nicht, mein lieber Sohn’ and the aria had a white-hot elemental fury. The second aria was even better and the coloratura leaps and top Fs were deservedly greeted with ecstatic applause from the audience.»
- Seen and Heard – International
«Caroline Wettergreen’s ambivalent Queen of the Night fearlessly commands the stratosphere, even interpolating extra high notes.»
- Evening Standard
«Caroline Wettergreen was a nuanced Queen who you might even have felt sorry for. Her effortless coloratura was precise and glittering.»
- Planet Hugill
«On-trend for moon-landing weekend, Caroline Wettergreen’s stratospheric Queen of the Night is an absolute show-stopper.»
- The Argus
«The strong vocal lines made this an unexpectedly immersive experience exploring what was a surprisingly rich complex score. Queen of the Night solo was a remarkable feat deserving of the rapturous and extended applause soprano Caroline Wettergreen received.»
- Thourougly Good
“The Queen of the Night provided incredible range, with impeccable coloratura, acting with energy and conviction.”
- Opera Actual
«The highest accolades go to Caroline Wettergreen’s Queen of the Night, with the beauty and control that she displayed in her coloratura making her a class act in every sense. It was also interesting to see how there was a certain sense of calm and understatement in her gestures in ‘O zittre nicht, mein lieber Sohn’, but that by the time of ‘Der Hölle Rache’ her ability to micromanage how she presented herself had given way to desperation, making her appear far more overtly forceful.»
- MusicOHM – Proms 51
«..with genuine thrills from Caroline Wettergreen's Queen of the Night as a posturing Madame Upstairs: incandescence filling the hall, the top F full and brilliant, not just pipped out.»
- The Arts Desk – Proms 51
«Caroline Wettergreen as Queen of the Night presents a suitably witchy figure in plum velvet and stops the show – as usual – with her glittering act two aria.»
- Lark Reviews – Proms 51
«..her performance was refreshingly free of histrionics and steeliness – rather, her first aria was eloquently controlled, and the famous ‘Der Hölle Rache’ musically forthright, drawing some sympathetic engagement with the cause of a character who is here regarded as unjustifiably wronged.»
- Classical Source - Proms 51